Jenny Sadre-Orafai’s collection Malak (Platypus Press, 2017) creates a new language that helps us understand the metaphysical, the things we cannot see.
Jennifer Tseng’s “Not so dear Jenny” (Bateau Press, 2017), the winner of the 2016 Boom Chapbook Contest, is born from a 30-year correspondence with her father. These poems are intimate missives on parenting, longing, and heartbreak.
Marlena Chertock’s collection “On that one-way trip to Mars” (Bottlecap Press, 2016), contemplates the beauty on the earth and in the universe and how quickly it can dissipate if we aren’t careful.
Jessie Carty’s “Shopping After the Apocalypse” (Dancing Girl Press, 2016) contemplates solitude and the will to survive.
In Sarah J. Sloat’s Heiress To A Small Ruin (Dancing Girl Press, 2016), household objects and common domestic scenarios breathe, grow, and make choices on every page, but there is nothing common about them.
Kelly Lorraine Andrews’ “I want to eat so many kinds of cake with you” offers an honest, witty look at lust, lost love, and isolation. Seductive as cake.
In Amy Strauss Friedman’s poetry collection Gathered Bones are Known to Wander (Red Bird Chapbooks, 2016), the familiar is made strange and surreal, and what’s “real” is slippery at best.
Tammy Robacker’s poetry collection R (Seven Kitchens Press) sets masculinity and the male gaze against female adolescence to heartbreaking effect.
QueerSexWords (Yellow Chair Press, 2016) by Caseyrenée Lopez sings with grief and power in its exploration of sexuality and what it means to love in a hostile world.
Joshua Jennifer Espinoza’s full-length poetry collection There Should be Flowers (Civil Coping Mechanisms, 2016) charts the struggle of making one’s body their own.
Hoa Nguyen’s poetry collection Violet Energy Ingots (Wave Books, 2016) weaves a rough tapestry of domestic objects and daily tasks that also reveal how we long to grow our own cultural garden.